And in "Pergamon and the Hellenistic Kingdoms of the Ancient World," which opens on Monday, April 18, it is operating in truly epical form.
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But the director holds off from making the kind of visionary statement that would burn through the epical thickness of techno-chaff and touch the old questions: Where do we come from?
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The "Home Front" gives paragraph-long descriptions of domestic developments, from epical public protests for and against the "Living Room War" — so called because of its ubiquitous presence on network television — to the almost furtive return of traumatized veterans.
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This genuinely epic production out of London, directed with surging sweep and fine-tooled precision by Sam Mendes, charts the history of the financial institution that would come to be known as Lehman Brothers, from its humble origins to its epical implosion, over a span of three centuries and many generations.
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And the influence seems to have passed, by art world osmosis — many artists were networked through working on W.P.A. mural projects at the time — to artists like the Chicago-based Charles White, who applied a version of Orozco's brand of muscular expressionism to his own epical paintings of African-American life.
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Arpit Ranka (born 30 June 1983) is an Indian model and actor, best known for his work as Duryodhana in the epical TV series Mahabharat (2013–2014).
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Of MacDonagh he wrote: > No person living is the worse off for having known Thomas MacDonagh, and I, > at least, have never heard MacDonagh speak unkindly or even harshly of > anything that lived. It has been said of him that his lyrics were epical; in > a measure it is true, and it is true in the same measure that his death was > epical. He was the first of the leaders who was tried and shot.
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Naim Frashëri wrote a pastoral poem Bagëti e bujqësia (Shepherds and Farmers) (1886), a collection of philosophical, patriotic and love lyrics Lulet e verës (Summer Flowers), (1890), an epical poem on Skanderbeg Histori e Skënderbeut (The History of Skanderbeg) (1898), a religious epical poem Qerbelaja (1898), two poems in Greek O Eros (i.e. O Love) and (i.e. The True Desire of Albanians), some lyrics in Persian Tehajylat (The Dream) and many erudite works in Albanian. He is recognised as the greatest national poet of Albanians.
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A reviewer for Photoplay described China Slaver as a "rather ragged production attempting epical heights", but "handicapped by an overly-fantastic story and amateur direction." However, he also lauded Sojin for his "excellent" and "inscrutable" performance.
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He dedicated his book of epical poems, Zelený barvínek, to his native region. He spent many years painstakingly collecting information about the history of his native village. In 1999 he presented Podomí with his detailed Chronicle to mark 650 years of the municipality.
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His various thoughts Are Portrayed in this story. Krishna Gatha is a long poem of epical dimensions written at the behest of Udaya Varma. It is the first Maha Kavya in Malayalam. Udaya Varma rewarded him with the title Veerasrinkhala and other honors.
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In Spanish legends, two magic swords belonged to the warrior Rodrigo Díaz de Vivar, "El Cid", according to the medieval epical poem "Cantar del mio Cid". The first, "Tizona", had a personality of its own, and its strength varied according to the person who used it. "Colada", too, had power only in the hands of a brave warrior.
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Dabeer, along with Anis, left an everlasting influence on Urdu literature and marsiya in particular. Marsiya, in its content and matter, allowed the two masters to demonstrate their artistry and command of Urdu language and idiom. At the same time epical nature of marsiya covered and dealt with entire range of emotions and ideas. It has both mystical and romantic appeal.
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This phad is signed by Surajmal and Bagtavarchand and dated Vikram Samvat 1924 (1867).Smith, John D. (2005). The Epic of Pabuji, New Delhi: Katha, , p.39 A Bhopa, usually erects the phad shortly after nightfall in the villages where he is invited to sing different episodes from the epical narrative of Devnarayan in front of the phad during the (night-wakes).
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Ironically, he is inseparable from character of Mlađan Dinkić, his assistant, shown as retarded. Vuk Drašković is struggling for preservation of Serbian traditionalism, making comical situations, in which he learns English and trying to translate Serbian epical songs to it. Velimir Ilić is presented as vulgar and badly behaved person. Some of old characters were Slobodan Milošević and Vojislav Šešelj.
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There Adama van Scheltema, a melancholic as well as a nature-lover, was able to find peace of mind. World War One, however, triggered an emotional crisis, and Adama van Scheltema's poetry took on a darker, religious undertone. This development reached its apogee in the epical poem "De Tors" (The Torso), which was published in its entirety after the author's sudden death in 1924.
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Length is not an essential matter in the definition of an apologue. Those of La Fontaine are often very short, as, for example, "Le Coq et la Perle" ("The Cock and the Pearl"). On the other hand, in the romances of Reynard the Fox we have medieval apologues arranged in cycles, and attaining epical dimensions. An Italian fabulist, Corti, is said to have developed an apologue of "The Talking Animals" reaching twenty-six cantos.
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The connecting link between them is a set of rules of transformation, to use Chomsky's own phase."Talcott Parsons, "Action, Symbol, and Cybernetic Control." In Ino Rossi (ed.) Structural Sociology New York: Columbia University Press, 1982. p. 53. The transformative processes and entities are generally, at least on one level of empirical analysis, performed or actualized by myths and religions,Roland Robertson, "The Central Significance of 'religion' in Social Theory: Parsons as an epical theorist.
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His portrayal of Lord Shiva in the movie Thiruvilayadal (1965) won him many accolades. Ganesan could strike a balance between commercial cinema, Mythological cinema and experimental cinema. His epical portrayals in films such as Thiruvilayaadal, Thiruvarutselvar, Saraswati Sabatham, Thirumal Perumai and Thillana Mohanambal won him critical acclaim. He played a variety of roles such as freedom fighters, like Tiruppur Kumaran, Bhagat Singh and epic characters like Karna, Bharatha, Narada, Appar, Nayanmars and Alwars.
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With the middle of the fourteenth century the chivalric spirit came once more into fashion. A certain revival of the forms of feudal life made its appearance under William III and his successors. Knightly romances came once more into vogue, but the newborn didactic poetry contended vigorously against the supremacy of what was lyrical and epical. From the very first the literary spirit in the Low Countries began to assert itself in a homely and utilitarian spirit.
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Bahuchar Mata is a patron goddess of the Hijras. Numerous deities have been considered patrons of third-sex or homoerotically- inclined people. This patronage can originate in epical stories about the deity, or from religious practices and rituals. For example, Conner and Sparks argue that the goddess of fire, love and sexuality, Arani, has been linked to lesbian eroticism via rituals in her honor: for example two pieces of wood perceived as feminine, called the adhararani and utararani, are rubbed together, simulating a spiritual lesbian interaction.
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Prof Mahir Khalifa- zadeh believes that apart from legends, it has been difficult to find historical explanations or archaeological or written evidence as to why the tower was called the Maiden tower. In addition to epical backgrounds, it is believable that the word "maiden" means that the tower was not destroyed by any enemy and thus means (from the religious viewpoint) that it was never desecrated (touched) by the evil of Angra Mainyu and remains the "virgin" or "maiden" temple-tower of the Zoroastrianian God, Ahura Mazda.
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The main direction taken by the Albanian literature between the two World Wars was realism, but it also bore remnants of romanticism. Gjergj Fishta (1871–1940), wrote a poem of national epos breadth The Highland Lute (Lahuta e malësisë) in 17.000 verses, in the spirit of Albanian historical and legendary epos, depicting the struggles of Northern highlanders against Slav onslaughts. With this work he remains the greatest epical poet of Albanians. A Franciscan priest, erudite and a member of the Italian Academy, Gjergj Fishta is a multifaceted personality of Albanian culture: epical and lyrical poet, publicist and satirist, dramatist and translator, active participant in the Albanian cultural and political life between the two Wars. His major work, The Highland Lute (1937, english edition 2005), is a reflection of the Albanian life and mentality, a poetical mosaic of historic and legendary exploits, traditions and customs of the highlands, a live fresco of the history of an old people, which places on its center the type of Albanian carved in the calvary of his life along the stream of centuries which had been savage to him.
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The first is the Albanian romantic poet brought up in the climate of European Romanticism, the second is the Albanian romanticist and pantheist who merges in his poetry the influence of Eastern poetry, especially Persian, with the spirit of the poetry of Western Romanticism. De Rada wrote a cycle of epical-lyrical poems in the style of Albanian rhapsodies: Këngët e Milosaos (The Songs of Milosao), 1836, Serafina Topia 1839, Skënderbeu i pafat (Unlucky Skanderbeg) 1872–1874 etc. with the ambition of creating the national epos for the century of Skanderbeg.
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What did it turn out to be but a Pearl that by some chance had been lost in the yard? “You may be a treasure,” quoth Master Cock, “to men that prize you, but for me I would rather have a single barley-corn than a peck of pearls.” On the other hand, in the romances of Reynard the Fox we have medieval apologues arranged in cycles, and attaining epical dimensions. An Italian fabulist, Corti, is said to have developed an apologue of "The Talking Animals" reaching twenty-six cantos.
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Lyric poetry, once considered non-mimetic, was deemed to imitate feelings, becoming the third "Architext", a term coined by Gennette, of a new long-enduring tripartite system: lyrical; epical, the mixed narrative; and dramatic, the dialogue. This new system that came to "dominate all the literary theory of German romanticism" (Genette 38) has seen numerous attempts at expansion and revision. Such attempts include Friedrich Schlegel's triad of subjective form, the lyric; objective form, the dramatic; and subjective-objective form, the epic. However, more ambitious efforts to expand the tripartite system resulted in new taxonomic systems of increasing complexity.
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The story has two basic topics. On one side, a tale about a family of circus directors struggling to remain at the top of show business in the social context of Europe and South-America during the last century. On the other side, the epical facts of a colossal enterprise that survived the most transcendental political crisis, dealing – voluntarily or by force – with political leaders, dictators, bankers or businessmen from both continents. The Sarrasani Circus was founded in 1901, reaching a patrimony of 400 animals (not pets, precisely) and hiring a similar number of artists and technicians, hosting troupes from the most distant and exotic places: Chinese, Japanese, Javanese, Moroccan, Hindus, Sioux, Ethiopians, Gauchos, Europeans, etc.
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Lyric poetry, once considered non- mimetic, was deemed to imitate feelings, becoming the third leg of a new tripartite system: lyrical, epical, and dramatic dialogue. This system, which came to "dominate all the literary theory of German romanticism (and therefore well beyond)…" (38), has seen numerous attempts at expansion or revision. However, more ambitious efforts to expand the tripartite system resulted in new taxonomic systems of increasing scope and complexity. Genette reflects upon these various systems, comparing them to the original tripartite arrangement: "its structure is somewhat superior to…those that have come after, fundamentally flawed as they are by their inclusive and hierarchical taxonomy, which each time immediately brings the whole game to a standstill and produces an impasse" (74).
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If there is parody in the Satyricon it is not about the main characters—Encolpius, Giton and Ascyltos—but of the described social reality, and the literary genres of certain famous poets and writers, Homer, Plato, Virgil and Cicero included. Petronius's realism has a Greek antecedent in Aristophanes, who also abandoned the epical tone to focus on ordinary subjects. The Satyricon was widely read in the first centuries of the Common Era. Through poetry and philosophy, Greco-Roman literature had pretended to distance itself from everyday life, or to contemplate it loftily as in history or oratory. Petronius rebelled against this trend: (“There is nothing as blatantly false as unconvincing statements made by men and nothing as blatantly unconvincing as their fake seriousness” —section 132).
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Franz Planer's photography of Texas is downright awe- inspiring, the characters are solid, the story line firm, the playing first- rate, the music more than dashing in this nearly three-hour tale which should delight everybody." John McCarten of The New Yorker wrote, "Of those involved in this massive enterprise, Mr. Bickford and Mr. Ives are the most commendable as they whoop and snort about the sagebrush. But even they are hardly credible types, and as for the rest of the cast, they can be set down as a rather wooden lot." Philip K. Scheuer of the Los Angeles Times called the film "too self consciously 'epical' to be called great, but at its best, which is frequently, it's better than good.
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It is entirely missing in Mar Langa Pizarro, La novela histórica española en la transicióñ y en la democracia, [in:] Anales de Literatura Española 17 (2004), pp. 107-120 Novels where Carlism is granted more than a negligible role are few. It is moderately present in Herrumbrosas lanzas by Juan Benet (1983), an extraordinary and monumentally epical volume which if only because of its sheer size offers numerous comments on Carlism; its key protagonist, Eugenio Mazón, comes from a Carlist family and at one stage is himself seduced by Carlism; the discourse is very much a reference to Barojian and Unamunian concepts of various ingredients in fusion.Pedro Pablo Serrano López, Sorna, lamento y laberinto en Herrumbrosas lanzas de Juan Benet [PhD thesis Universidad Autónoma de Madrid]. Madrid 2010, p.
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The first travels of Greek merchants and adventurers to the Pontus region occurred probably from around 1000 BC, whereas their settlements would become steady and solidified cities only by the 8th and 7th centuries BC as archaeological findings document. This fits in well with a foundation date of 731 BC as reported by Eusebius of Caesarea for Sinope, perhaps the most ancient of the Greek colonies in what was later to be called Pontus.Hewsen, 39 f. The epical narratives related to the travels of Jason and the Argonauts to Colchis, the tales of Heracles' navigating the Black Sea, and Odysseus' wanderings into the land of the Cimmerians, as well as the myth of Zeus constraining Prometheus to the Caucasus mountains as a punishment for his outwitting the Gods, can all be seen as reflections of early contacts between early Greek colonists and the local, probably Caucasian, peoples.
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It also displayed two of his paintings in the Opera House lobby.San Francisco Symphony program, May 4,6,7, 1960 The feature article in the section “This World” of the San Francisco Chronicle (May 1, 1960) was titled “The World Premiere of Leplin’s Compositions and Canvases,” and ran photos of the two paintings. Alfred Frankenstein wrote: “Serenity, clarity, richness of color, and strength of substances were the keynote in Landscapes and Skyscrapers added great excitement of rhythm, a grand gesture, a sense of the epical and the monumental. Both pieces are by no means easy to play, but Jorda and the orchestra gave them extremely brilliant performances, and they were extremely well received.”"Symphony Plays Leplin Tone Poems," by Alfred Frankenstein, S.F. Chronicle, May 6, 1960 Alexander Fried wrote that the pieces were “deeply impressive” and “striking.” “There are two opposite balances of mood in the Leplin poems.
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Tous, near Mashhad Although Akhavan Sales's poetic career began as early as 1942, he did not acquire a degree that recognized his achievements, which was necessary for breaking into literary circles, in his time; however, this changed when he published his third volume of poetry in 1956, entitled "Zemestan" (Winter); this volume boosted Sales's career and placed him among the top runners for the mantle of Nima Yushij. In fact, within many circles, Nader Naderpour and Akhavan Sales were equally recognized as worthy successors of the Bard of Mazandaran. The fact that, like Nima, both poets had begun as traditionalists and then worked their way into new realms of New Poetry (sic) through individual initiative itself, both deserved praise for singular effort (why single one out when two can hold the same title at once?). Akhavan's forte, like the bard of Tus, Ferdowsi, is epic; more precisely, he chooses themes of epical proportion and expresses them with the same zeal that Ferdowsi uses in the Shahnameh.
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In 1851 he, who had for most of his life been pestered by heavy debts, received a pension from the state as a poet, and for the next quarter of a century he resided mainly in Paris. Besides the nine or ten volumes of lyrical verse mentioned above, Winther published Hjortens Flugt ("The Stag's Flight"), an epical romance in verse (1855). Taking place in 15th Century South Zealand, written in Nibelungenlied stanzas and probably inspired by Byron’s Mazeppa it tells about young love, demonic forces and witchcraft with a running stag as the reappearing motive of the untamed forces of Nature. However, in the lyric intervals it is also praising the idylls and freedom of Nature. In generations it became a traditional confirmation present for Danish youths in that respect competing with Paludan-Müller’s Adam Homo. Many of Winther’s shorter poems have won popularity and have become transformed into songs, for instance Flyv fugl, flyv – (“Fly, Bird, fly“), and some of the verses from his collection Til Een, 1842, (“For One”) a tribute to his wife.
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